Thursday, December 24, 2015

Série, presque à genoux with thread




Gus Van Sant, Last Days (USA, 2005) (image distorted) + Warhol's Purple Jumping Man (also distorted by A/Z; for more A/Z images, see here);
Pedro Américo
Cabeça de Cristo (Ecce Homo) (1885)

"La modérnité est un allégement de l'individualité... même les répétitions peuvent exprimer une sorte nouvelle d'originalité..."
Paul Klee (traduction Pierre-Henri Gonthier)

"... s’il faut que par une dialectique retorse il y ait dans le Texte, destructeur de tout sujet, un sujet à aimer, ce sujet est dispersé, un peu comme les cendres que on jette au vent après la mort... ou encore un film" (: 14).
"... fantasmatiquement, sa situation est fluide, éparpillée... se déplace dans la chose, comme le fumeur de hashish tout entier ramasé dans la fumée de sa pipe et qui 'se fume'..." (: 69).
"Sa vieillesse: il s’entoure de chats et de fleurs... Sa concierge le trouva mort, en redingote, à genoux au milieu des pots de fleurs... [Il] avait lu Sade..." (: 188).
- Roland Barthes, Sade, Fourier, Loyola (Paris: Éditions du Seuil, 1971);

"Un double peut fixer pour un temps l'instabilité du même, lui donner une identité provisoire, mais il creuse sourtout le même en abîme, il ouvre en lui un fond insoupçonné et insondable" (253).
- Julia Kristeva, Soleil Noir (Paris: Gallimard, 1987);

"Toile d'araignée comme exemple d'isolement 'naturel' d'une carcasse (pseudo-géométrique) d'infra mince."
- Marcel Duchamp, Notes (Paris: Flammarion, 1999);

Gus Van Sant, more links:
- William Burroughs in Drugstore Cowboy (USA, 1989);
- Road scenes from My Own Private Idaho (USA, 1991);
**Essay about Paranoid Park (France/USA, 2007);

Kurt Cobain, more links:
- Aneurysm;
- Beeswax;
- Downer;
- Tourette's;

***See also:
- faire ce qu'il faut: parler au spectre;
- Audrey Hempburnt Haunted by A/Z;
- Genug! Manifesto;
- Kur-d-t My Ghost;
- Manuel Puig & la cara de Juan Carlos;
- Orlando 06/12: this is not a miracle;
- mes yeux consumés (2);
- mes yeux consumés (1);
- Pier Paolo Pasolini;
- Podem Ficar com a Realidade;
- Call me Helium;
And also:
- Conversa de etiqueta;
- A/Z SLF;
- Sharp Digital SP;

Wednesday, December 16, 2015

Ernesto Nazareth




"His increasing deafness was also a cause of suffering. In 1933, he was diagnosed as incurably insane, and the physicians were forced to commit him to a madhouse (Colônia de Psicopatas) in Jacarepaguá. In the beginning of 1934, he ran away from the institution, got lost and died drowned in a dam..." (p. 121).
"... nobody saw him playing or dancing in soirees... Nazareth didn't belong to any dominant clique..." [Baptista Siqueira] (p. 121).
"[Nazareth attained great popularity but...] he was not a popular composer. His compositions are very sophisticated, and were corrected painstakingly... Nazareth should be placed among erudite composers. Notwithstanding, he was able to capture essential traits of the people of Rio de Janeiro... this is why his music is so fundamental" (p. 122).
"The admission of Nazareth to the realm of erudite composers was (and remains) difficult. It should have been undisputed, but it wasn't" (p. 123).
"The titles given to his compositions bear witness to Nazareth's involvement in the everyday life of his surroundings: Cruz Perigo!! — Está chumbado — Gemendo, rindo e pulando — Gentes: o imposto pegou? — Mariazinha sentada na pedra — Não caio n'outra — Pipoca — Podia ser pior — Fonte do suspiro — Bicicleta-Club — Chile-Brasil — Paulicéia, como és formosa" (p. 123).
"... he composes in a very pianistic way..." (p. 123).
Bruno Kiefer, História da Música Brasileira (Porto Alegre: Movimento, 1997).

"Ernestinho understood quite well that, in this lofty world, all the shafts — either notes or human beings — should stand upright, steadfast, and aloof" (p. 121).
"... Ernesto Nazaré told me that he used to play a lot of Chopin. It came as no surprise, because of the subtle influence of Chopin's pianistic style over his entire oeuvre" (p. 123).
"... his popular simplicity is disguised under a luscious chromaticism of devilishly mellifluous twirls, in which altered notes pop up at any moment, taking us anawares as if an inhambu about to fly..." (p. 124).
Mario de Andrade, Música, Doce Música (São Paulo: Martins, 1976).

See also:
- view from Berthe Trepat's apartment;
- liste des déclencheurs musicaux;
- (Electronic & Others) High or Middle Culture?
- Piano Playing (Kochevitsky);

Monday, December 14, 2015

José Maurício Nunes Garcia (1767-1830) & Gilberto Mendes









A Odisséia Musical de Gilberto Mendes (Brazil, 2005):
"39... that's how many albums and CD's have been released by my grandfather in Brazil and the rest of the world. When I asked my father why it was so difficult to find one of them in Brazil, he replied: 'Brazil isn't a country, Brazil is a mission'", Gilberto Mendes' granddaughter.
"Gilberto Mendes simply hung in there, created the New Music Festival, kept composing music while everyone, literally everyone else [doing high repertory music in Brazil] just gave up", Décio Pignatari.
Gilberto Mendes, Son et Lumière (1968);
Gilberto Mendes, Estudo Magno (1993);
Gilberto Mendes, Blirium C9 (1965);
Gilberto Mendes, Eisler e Webern caminham nos mares do sul (1989); 
Estudo, ex-tudo, eis tudo pois (1998);
José Maurício Nunes Garcia, Requiem (1816);
José Maurício Nunes Garcia, Zemira (Ouverture);

"E nos amarga então a incúria com que... os nossos governos vivem nos seus brinquedos perigosos de política, sem beneficiar aos que nos devem ser caros pelo que de Brasil e por nós fizeram..."
Mario de Andrade, "Padre José Maurício", Música Doce Música
"... the names of his grandmothers are unknown — an important point which opens the perspective concerning the referred mixing [of races]..." (p. 9).
"... while far away from Brazil, the painter Nicolau Taunay will inquire [José Maurício's] brothers after the 'grand mulâtre'. Called to mold his mortuary mask, Manoel de Araujo Porto Alegre says: 'more than average build... the size of his bones shows that he had been a strong man'" (p. 11).
"His depressive state becomes manifest when he complains that 'the yelping of dogs... the chirping of crickets annoy me...'" (p. 11).
"... José Maurício resigned from the Order of Christ to the benefit of his son..." (p. 15).
"Besides studying music with his father, the physician Nunes Garcia studied painting with Debret, and left an oil portrait of José Maurício..." (p. 16).
"Among the four descendants that would live with his father at the time of his father's demise, Nunes Garcia refers to two younger sisters 'in a state of insanity since a long time...'" (p. 16).
"It is surprising that José Maurício, whose religious calling is at least controversial, accepted the priesthood at the age of 25... The grounds for the choice seem to be connected rather with a musical drive... it would better enable him to the position of master chaplain" (p. 19).
"José Maurício is referred to as a brilliant fellow, whose exceptional intelligence was improved by his priestly education: Philosophy, History, Geography, Latin, French, Italian as well as English and Greek" (p. 20).
"In the last years of the 18th century, already with a significant background as a composer, José Maurício became director of a music school... teaching was done for free..." (p. 23).
"José Maurício was acclaimed as an excellent organist... Sigismund Neukomm referred to his playing as that of 'the world greatest improviser'" (p. 31-32).
"D. João VI's curiosity for the mulatto musician aroused almost immediately" (p. 33).
"José Maurício had to perform many duties as composer, conductor, organist, archivist, besides having to carry out other bureaucratic tasks..." (p. 34).
"Timid, not used to curry favor, in a court plenty of arse-likers... it was only natural that the king did not give him what he didn't explicitly asked for" (p. 35).
"[In 1811] his position crumbled away, his production decays" (p. 36). 
"In december 1819, João Maurício [conducted] the first audition of Mozart's Requiem in Brazil..." (p. 37)
*****Cleofe Person de Mattos, Catálogo Temático José Maurício Nunes Garcia (Rio de Janeiro: MEC, 1970). 

***The music produced in Minas Gerais in the 18th century — by composers such as Lobo de Mesquita (1746-1805), before José Maurício — is also important (worldy speaking), and has been rescued from oblivion by the German-Uruguayan musicologist Dr. Francisco Curt Lange. See Julio Medaglia, "O Milagre Musical do Barroco Mulato," Musica Impopular (São Paulo: Global, 2009), p. 151-69.
The Brazilian concretist poet Décio Pignatari writes the following in his preface to this book: "Júlio Medaglia always knew that third-worldness is a reality, but he also knew that one should snatch it from the partisan claws of the jingoists [nacionaloides], who have always prescribed subculture to underdevelopment (some of these yesterday preachers are nowadays wealthy advisers of the powers that be). And Julio Medaglia always knew that the struggle in these countries has to go hand in hand with learning — not the learning of supposed national authenticities ('our values') but of international repertory and patterns," p. 9.   

See also:
- liste des déclencheurs musicaux;
- (Electronic & Others) High or Middle Culture?
- Piano Playing (Kochevitsky);
- List of musicians (under construction);
And also:
- Ernesto Nazareth;
- Elements of Musical Language (by Bruno Kiefer);

Saturday, December 12, 2015

Piano Playing (Kochevitsky)



Da Vinci
study (1499)
Image from
Julian Bell's
Mirror of the World

"... régner, ainsi que l'eau, dans le secret et 'par en dessous' (en laissant, en offrant à chaque 'sujet' la possibilité du plus complet, du plus heureux épanouissement..."
Henri Pousseur (sur Lao-Tseu), Musiques Croisées
"... il me paraît tellement important de développer une théorie du son et de la musique (de la matière sonore et musicale en mouvement) qui s'efforce de généraliser ces notions et d'en vérifier l'application dans des pratiques..."
Henri Pousseur, Musiques Croisées
"Mise à nu en forme de piano accompagné des 3 fracas et de souvenirs de jeunesse du gaz d'éclairage. D'un nombre conventionnel de notes de musique 'entendre' le groupe de celles qui ne sont pas jouées (refaire)..."
Marcel Duchamp
"Elementarism opposes to the orthogonal method of plasticism, that is, homogeneous with natural construction, a heterogeneous contrasting, labile method of expression by means of sloping planes relative to the static, perpendicular axis of gravity."
The van Doesburg (quoted in Linda Henderson's The Fourth Dimension)
"Qu'est-ce que dessiner? Comment y arriver? C'est l'action de se frayer un passage à travers un mur de fer invisible, qui semble se trouver entre ce que l'on sent et ce que l'on peut. Comment doit-on traverser ce mur, car il ne sert de rien d'y frapper fort..."
Van Gogh (cité par Artaud)
"... the paradoxical concept of 'effortless striving'... a passionate, obsessive, overwhelming desire... but at the same time you must also maintain zero anxiety about it..." 
Dean Radin (Real Magic)
"Van Gogh est peintre parce qu'il a recollecté la nature, qu'il l'a comme retranspirée et fait suer..."
A. Artaud
"... there is a critical blindspot. The more intently we look for the answer in terms of the grid, the more impossible the task becomes.'
Thomas P. Kasulis
"... a mouvement from that which the everyday self understands to be the ground of the Being of beings to the invisible basho grounding that basho vis-à-vis being. Observing with a detached seeing is the state in which the self's consciousness of itself disappears and the actor sees even his own dancing figure from the outside, as one observing from the audience."
Yasuo Yuasa
"When one moves on command, one first puts oneself in the total emotive situation... The cognitive function of 'pointing to' becomes possible only after the active, potential 'holding' has taken place... the existential arc first grasps its goal potentially by means of the bodily scheme."
Merleau-Ponty/Bergson/Yuasa
"The important point here is that there is in principle, in the quantum model, an essential dynamic difference between the unconscious processing done by the Schrödinger evolution, which generates by a local process an expanding collection of classically conceivable experiential possibilities and the process associated with the sequence of conscious events that constitute the wilful selection of action." 
J. M. Schwartz, Henry P. Stapp, Mario Beauregard
"If one becomes accustomed to composing in an unrestrained posture such as standing or lying down, one cannot compose at all on formal occasions... My father admonished me not to compose waka even for a short while without the correct sitting posture."
Teika Jiwara
"... un cerebro medio contiene unos diez mil millones de neuronas, cada una de las cuales encierra varios millones de moléculas de distintos ácidos nucleicos; el número de combinaciones posibles es astronómico..."
Hyden/Cortázar
"... Einstein's theory of general relativity describes gravity as a distortion in the fabric of space-time caused by the presence of mass. If such a distortion (introduced in this case by focused intention) was able to bend the space between the pitcher and the plate, then the ball would naturally follow that bend..."
Dean Radin (Real Magic)
"If falling in a gravitational field can get rid of any observable effects of gravity, accelerating in the absence of one can create the appearance of a gravitational field... As everyone who has ever been in an elevator has experienced, when it first starts to accelerate upward, you feel slightly heavier; namely, you feel a greater force exerted by the floor on your feet. If you were in outer space, where you would otherwise feel weightless, and the elevator you were in started to accelerate upward, you would feel a similar force pushing you down against the floor... if I shined a laser beam in an elevator... I would also see the light ray's trajectory bend downward... But special relativity tells us that light rays move at constant speed in straight lines... one way to go in a straight line and also travel in a curve is to travel on a straight line on a curved surface... Space, and to some extent time, can be curved in the presence of mass or energy..."
Lawrence M. Kraus, Hiding in the Mirror
"Gravity is measured to be more than a billion billion billion billion times weaker than electromagnetism, and even weaker still when compared to the strong force [binding quarks in subatomic clusters]. It may not seem so weak... but remember that you are feeling the gravitational force of the entire earth acting on you. By contrast, even a small excess of electric charge on an object such as a balloon produces a large enough electric field to hold it up on a wall against the gravitational pull of the entire earth... In the Randall-Sundrum scheme... gravity near our brane acts effectively much more weakly than it does outside our brane... a microscopic distance 'away' from our world in the extra spatial dimension, gravity would appear to have the same strength as the other forces in nature..."
Lawrence M. Kraus, Hiding in the Mirror
"So, if string theorists are right, everywhere in visible space—at the tip of your nose... at the spot above the tennis court where your racket hit the ball the last time you served—there would be a six-dimensional Calabi-Yau manifold of invisibly tiny size..."
Lisa Randall, Warped Passages
"Branes, like sower curtains and Loyd's fifteen game, trap things on lower-dimensional surfaces. They introduce the possibility that in a world with additional dimensions, not all matter is free to travel everywhere... But braneworlds are interesting precisely because we know that not everything is confined to a single brane. Gravity, for example... extends to the bulk and everything interacts via gravity..."
Lisa Randall, Warped Passages
"... the equivalence principle, which states that the effects of acceleration cannot be distinguished from those of gravity... you wouldn't have any way of distinguishing uniform acceleration from standing still in a gravitational field... Einstein no longer saw gravity as a force that acts directly on an object. Instead, he describe it as a distortion of the geometry of spacetime that reflects the different accelerations required to cancel gravity in different places... the force of gravity is understood in terms of the curvature of spacetime, which in turn is determined by the matter and energy that are present..."
Lisa Randall, Warped Passages
"Just as [a] Vermeer could not have executed his paintings with a two-inch-wide brush... particles cannot be sensitive to short-distance physical processes unless their wavefunction varies over only small scales... according to de Broglie... the wavelength of a particle-wave is inversely proportional to its momentum... you need high energies to be sensitive to the physics of short distances... "
Lisa Randall, Warped Passages
************************************************************

- Feel fingers as inherently connected to the whole body and mind: 
"Practicing at the piano is mainly practicing of the central nervous system, whether we are aware of it or not..." (: Preface).

- Play with the ear: 
"Although Friedrich Wieck in the earlier period of his teaching used Logier’s Chiroplast in certain cases, his first concern was with the formation of touch and with teaching his pupils to listen and to hear, 'just as singing teachers rely upon the culture of a fine tone'" (: 6).

- Less is more (it is not a matter of strength but of optimizing movement): 
"... the laws of work of the central nervous system, which directs our motor activity, exclude any possibility of making such calculations while playing, and limit the ability to control muscle work while practicing. Although muscles need regulation, and indeed extremely fine regulation, this has to be achieved in a quite different way" (: 10).
"A man with the muscles of a Hercules could be very clumsy in his walking..." (: 11).
"The requirements of an individual finger in piano playing are usually much less than its natural ability [Oscar Raif’s experiments]" (: 12).
"... beginning practice starts with too much expenditure of force" (: 13). 
"... the energy of a movement is conditioned by the clarity and strength of the artistic imagination" (: 14).
"[Otto] Ortmann made many important observations that helped expose the fallibility of some existing ideas in piano pedagogy. He said, for example: 'Electrical stimulation has shown that, muscularly and mechanically, the normal infant is as ready to play a rapid five-ginger sequence as is the trained adult...'" (: 15).
"... the psycho-technical school suggests that the more our consciousness is diverted from the movement, and the stronger it is concentrated on the purpose of this movement, the more vividly do artistic idea and tonal conception persist in the mind" (: 17).
"Listening to great pianists not only miraculously influences a pupil’s musicianship but his motor sphere as well" (: 17).
"Never think of your music in terms of execution (of what your hands and fingers should or are going to do) but in terms of interpretative rendering (what you would expect it to sound like if a performer from heaven were executing it for you) [Bonpensiere]" (: 17).
"The human brain contains many billions of nerve cells which are connected with each other through nerve fibers" (: 21).
"We are not conscious of how we function but are concerned with the purpose of our action. ... The spatial and temporal regulation of movement forms depends on the fine collaboration of the cortex with the sub-cortical centers..." (: 22).
"What is important is strong, active finger work, since we receive much weaker sensations from weak movements than from strong ones./ A slight pressure into the key after its full depression is recommended in slow practicing... At the slightest sensation of fatigue in the upper parts of the arm, this practicing should be stopped" (: 25).
"The reason for difficulty in executing a trill is usually not the lack of capability of the fingers involved" (: 27).
"... the auditory stimulation (conditional stimulus), must always precede the motor reaction (unconditional stimulus), in performance as well as in practicing... The musical incentive has to be a signal provoking the motor activity" (: 28).
"Sometimes excessive industry and strenuous practicing can result in failure... Fatigue of the central nervous system, which is not noticed by the player, is the reason for this failure" (: 29).
******George Kochevitsky, The Art of Piano Playing (Evanston: Summy-Birchard Company, 1967).
************************************************************

"... in playing, the fingers should be arched, and the muscles relaxed. The less these two conditions are satisfied, the more attention must be given to them. Stiffness hampers all movement, above all the constantly required rapid extension and contraction of the hands... through intelligent practice it is easy to achieve that which can never be attained by excessive straining of the muscles... never undertake more than can be kept under control in public performance, where it is seldom possible to relax properly or even to maintain a fitting disposition... as a means of learning the essentials of good performance it is advisable to listen to accomplished musicians. Above all, lose no opportunity to hear artistic singing..." (Bach's Essay) (: 27-30).
"... a physical approach that ruled out all affectation and unnecessary movement" (Mozart’s "ideal Viennese technique") (: 52).
"Hummel 'feels that three hours a day of practice at the most should be enough for the advancing student to achieve excellence... unbecoming habits should be carefully avoided; as holding the face too near the book, biting the lips, nodding the head... that an adagio is much more difficult to perform with propriety than an allegro is a fact acknowledged by every one...'" (: 70-77).
"... the crescendo should never be produced by a visible exertion of the hands, or by lifting up the fingers higher than is usual... but only by an increased internal action of the nerves, and by a greater degree of weight" (Czerny’s approach) (: 112).
"... then [Liszt] had Calerie play the elementary exercise: do-re-me-fa-sol-fa-me-re-do, striking each note six, eight, or twelve times while holding down the notes not involved. Valerie had trouble folding them down and occasionally released the third or fourth fingers. Liszt then asked her to play the exercise as fast as she could and without holding down any keys. 'Can you hear how uneven it is'?" (181).
"[Prentice]... emphasized the importance of deep breathing exercises for the pianist" (: 233).
"The arm must be in a state of complete rest and passivity, and simple allow itself to be guided as whole through the prescribed motions... each separate finger, quite unaffected by the task which its neighbor has to perform, must carry out with perfect independence the commands transmitted to it from the brain" (Caland) (: 257-59).
"... for [Leschetizky], music making was a vital experience, as urgent and important as life itself" (: 272).
"Annette Hullah recalled that [Leschetizky] felt that four or, at the most five hours a day of concentrated practice was sufficient… 'concentrated thought is the basis of his principles'" (: 274).
"Leschetizky teaches his pupils to save their bodies fatigue by devitalizing the muscles not called into play. Let anyone support the extended arm of another, and then at a given word allow the arm to drop. If it falls to the side instantly and quite limp, it is said to be devitalized, but many people find difficulty in letting the arm go entirely in this way with all their muscles relaxed" (: 279).
******Reginald R. Gerig. Famous Pianists and Their Technique (R. B. Luce, 1974).
************************************************************

Related:
"Curiously the discussion on body-sense and body-movement, together called proprioception, are two central topics of discussion in neurobiology. Proprioception is a third sense (apart from the sensations of outer and inner objects) that tells us how much effort we need to give for movement, and where the body parts are located in relation to one another, an awareness of the body which stems from sensory receptors — proprioceptors — in the muscles, tendons, and joints, creating adequate stimuli for deep receptors... While this vital sense is challenged in patients with psychiatric and neural disorders, it is present in a heightened degree in performers of martial arts where the other person’s (proprioceptive) capability is also considered as feedback... Together seen and understood the viewpoint in space creates the identity of the performer/artist and one’s presence that transcends color, form, and body, and in the process creates a transpersonal space that is still, peaceful, and aesthetic," Sangeetha Menon Shankar Rajaraman's & Lakshmi Kuchibotla's "Well-being and Self-Transformation in Indian Psychology" (International Journal of Transpersonal Studies, 37/1, 2018, pp. 13–26);

See also:
- view from Berthe Trepat's apartment;
- liste des déclencheurs musicaux;
- (Electronic & Others) High or Middle Culture?
- Elements of Musical Language (by Bruno Kiefer);
- List of musicians (under construction);

Friday, December 11, 2015

Scenes worth a proof of God's existence




















A Poem by Mario Quintana.
("We'll meet again" — Ross Parker and Hughie Charles, 1939; Vera Lynn's rendition)
First of all, the ending of Stanley Kubrick's Dr. Strangelove (1964).
Then a little Sid Vicius...
Evgny Kissin playing Scriabin (Etude Op. 42 N. 5).
Schubert's Fantasy in F minor (Lucas & Arthur Jussen).
Fita Amarela (Noel Rosa).
Manifesto Juliana Dorneles (montage A/Z, for more see here).
(to be continued...)

"Ontem, os Estados Unidos foram atingidos com força pelo ciclone BLIND FAITH."
Gerald Thomas, Entre Duas Fileiras
"Et maintenant, elle explose!"
Paul Virilio, L'Université du désastre
"... je saisis vos pirouettes..."
Julia Kristeva, Le vieil homme et les loups
"What does she care for the atom bomb, the bedbugs..."
William Burroughs, Naked Lunch

"We'll meet again
Don't know where
Don't know when
But I know we'll meet again
Some sunny day
Keep smiling through
Just like you always do
'Till the blue skies
Drive the dark clouds far away..."

Elements of Musical Language (by Bruno Kiefer) & Brazilian Popular Music

Synchrony:
- rhythmic factors: duration, intensity, waves (fluctuations of intensity, caused by variations of pitch, timbre etc.) (p. 23-26);
- elements that shape melodic intervals: tension, luminosity (p. 49); 
- chord: the simultaneous sounding of three or more sounds (p. 70);
- figure: melodic fragment that, inside a piece, turns out to be indivisible (p. 51);
- motive: has a complementary or contrary fragment that generates tension in relation to it (p. 54); 
- theme: melodic fragment (made of one or more figures), used in the building of a section (p. 61); structural bloc, with a melodic, rhythmic and/or harmonic character (p. 63);
- repetition: if literal, produces monotony; it might take place through ascendant or descendant progression (p. 52); 
- imitation: repetition that occurs between different voices (with or without variation) (p. 52, 61-62); 
- variation: "repetition with superficial or more deep changes in the model"; it might involve direct motion, inversion and retrograde motion, with augmentation or diminution of rhythmic values (p. 52-53);
- polyphony: superposition of two or more voices (which are rhythmically or melodically independent; each voice should have its own expressive meaning); vertical (harmonic) factors are also important (otherwise we would have only a cacophony) (p. 65); the voices might imitate one another or not (p. 67-68);
- fugue: the theme "remains" (p. 62); 
- sonata-allegro form: two themes are presented (A), the material is developed (B), the themes are presented again (p. 63) [exposition-development-recapitulation, as says John Bauer in his Music Theory Through Literature, Vol. 2 (New Jersey: Prentice-Hall, 1985) p. 10]; 

Diachrony:
- from the 9th century onwards: polyphony: importance of vertical dimension (p. 70);
- gothic period: strong beat: consonant sounds (perfect octave, perfect fifth, perfect fourth, unison); weak beat: dissonant sounds (great liberty) (p. 71);
- 13th century: thirds are admitted as imperfect consonant sounds (p. 71);
- 14th century: sixths are admitted as consonant sounds (Philippe de Vitry) (p. 71);
- 15th century: increase in the use of perfect major and minor chords (root position and first inversion) (gain in terms of sensuous qualities) (p. 71);
- baroque: increase in the use of dissonances (dramatic/expressive purposes) (seventh chords) (Monteverdi) (p. 72);
- baroque (third phase): consolidation of the tonal system (p. 72);
- Beethoven onwards: harmonic innovations (p. 73);
- romanticism: great enrichment of harmony; introduction of elements contributing to the dissolution of the tonal system (p. 73);
- Schoenberg (second phase): atonalism (p. 73);
- Pierre Schaeffer: concrete music (p. 73);
- electronic music (p. 74);
*****Bruno Kiefer. Elementos da Linguagem Musical. Porto Alegre: Movimento, 1987.

Brazilian Modinhas e Lundus:
"... the music there was peculiarly bewitching and delightful, the modinhas... it was all which made the merit of music in antiquity, and belonged to poetry and sense... that melody and harmony which steals into the heart... melts the soul... Such music is irresistible in its effects in the southern climate..."
William Thomas Beckford 
"Le lundù a des charmes qui tournent les têtes les plus solides."
Santa-Anna Nery 
- most remarkable characteristic of both modinhas and lundus: syncopated melodic lines (semiquaver — quaver — semiquaver); 
"... descending melodic lines are the most common. The beginning of those lines is generally attained by significant ascending leaps or by ascending arpeggios... Such characteristics lend the modinhas simplicity, intimism, sweetness, longing. The modinha is a sequence of sensual sighs... it is far away from the grandiloquence of arias in Italian operas [but frequently harmed by the shadow of bel canto]..." (Bruno Kiefer, Raízes da Música Popular Brasileira: da modinha e lundo ao samba. Porto Alegre: Movimento, 2013, p. 28).

See also:
- liste des déclencheurs musicaux;
- (Electronic & Others) High or Middle Culture?
- Piano Playing (Kochevitsky);
- List of musicians (under construction);
And also:
- Ernesto Nazareth;
- José Maurício Nunes García & Gilberto Mendes;

Thursday, December 10, 2015

Poème du retour: Paulo Leminski et l'éternel moustache de Nietzsche (& outros)



Lasar Segall, Mãe Morta (1940);
Samico, História do Galo de Ouro (1999);

"Nishida's basho vis-à-vis nothing is the basho that can be reached by denying the fact that the self is such an ego-consciousness or, to be more precise, by letting it disappear."
Yasuo Yuasa

"...basal consciousness, becoming a thing and exhausting it... does not mean to lose the body, nor that it becomes universal. On the contrary, the self is deepened, it is thoroughly at the base of one's body."
Kitaro Nishida/Yasuo Yuasa

"There is an end to life, but No is endless."
Zeami

"... l'identité... tourne autour du Différent..."
Deleuze (Différence et répétition)

"... la mort dérobant la conscience, non seulement j'ai conscience de mourir: cette conscience, en même temps, la mort la dérobe en moi..."
Georges Bataille

"Les contenus se perdant les uns dans les autres, des diverses formes de dépense définissaient d'eux-mêmes une loi de communication réglant les jeux de l'isolement et de la perte des êtres."
Georges Bataille
*************************************************************

"desaparecença Nada com nada se assemelha.
Qual seria a diferença
entre o fogo do meu sangue
e esta rosa vermelha?
Cada coisa com seu peso,
cada quilômetro, seu quilo.
De que é que adianta dizê-lo,
isto, sim, é como aquilo?
Tudo o mais que acontece
nunca antes sucedeu.
E mesmo que sucedesse,
acontece que esqueceu.
Coisas não são parecidas,
nenhum paralelo possível.
Estamos todos sozinhos.
Eu estou, tu estás, eu estive."

"incenso fosse música
isso de querer
ser exatamente aquilo
que a gente é
ainda vai
nos levar além"

Paulo Leminski, Distraídos Venceremos (1987).
*************************************************************


Um poema de Mário de Andrade:
Improviso do Rapaz Morto (1925)
Morto, suavemente ele repousa sobre as flores do caixão.
Tem momentos assim em que a gente vivendo
Esta vida de interesses e de lutas tão bravas,
Se cansa de colher desejos e preocupações.
Então para um instante, larga o murmúrio do corpo,
A cabeça perdida cessa de imaginar,
E o esquecimento suavemente vem.
Quem que então goze as rosas que o circundam?
A vista bonita que o automóvel corta?
O pensamento que o heroíza?..
O corpo é que nem véu largado sobre um móvel,
Um gesto que parou no meio do caminho,
Gesto que a gente esqueceu.
Morto, suavemente ele esquece as flores do caixão.
Não parece que dorme, nem digo que sonhe feliz, está morto.
Num momento da vida o espírito se esqueceu e parou.
De repente ele assustou com a bulha do choro em redor,
Sentiu talvez um desaponto muito grande
De ter largado a vida sendo forte e sendo moço,
Teve despeito e não se moveu mais.
E agora ele não se moverá mais.
Vai-te embora! vai-te embora, rapaz morto!
Ôh, vai-te embora que não te conheço mais!
Não volta de-noite circular no meu destino
A luz da tua presença e o teu desejo de pensar!
Não volta oferecer-me a tua esperança corajosa,
Nem me pedir para os teus sonhos a conformação da terra!
O universo muge de dor aos clarões dos incêndios,
As inquietudes cruzam-se no ar alarmadas,
E é enorme, insuportável minha paz!
Minhas lágrimas caem sobre ti e és como um sol quebrado!
Que liberdade em teu esquecimento!
Que independência firme na tua morte!
Ôh, vai-te embora que não te conheço mais!

From The Book of Thoth (Aleister Crowley):
- 8/Adjustement [Libra, Venus/Saturno, adjustment ("the daughter, redeemed by her marriage with the Son, is thereby set up on the throne of the mother"), "the feminine complement of the Fool," "the secret course of judgment whereby all current experience is absorbed, transmuted, and ultimately passed on, by virtue of the operation of the Sword, to further manifestation," "at the corner of the card, are indicated balanced spheres of light and darkness, and constantly equilibrated rays from these spheres form a curtain, the interplay of all those forces which she sums up and adjudicates," "equilibrium stands apart from any individual prejudices... Nature is scrupulously just, it is impossible to drop a pin without exciting a corresponding reaction in every star," "she is the ultimate illusion which is manifestation; she is the dance, many-coloured, many-wiled, of Life itself, constantly whirling, the phantom show" (***wasn't Nietzsche a Libran? Yes! He was born 15 October; in what matters A/Z himself, the regents of solar sign and ascendent are in Libra, and almost everything is in the VII house, see here), karma (Eastern philosophy), "Saturn represents above all the element of time... all action and reaction take place in time" (phenomena are compensated by time)];

See also:
- Cristovão Tezza haunted by Barthes;
- Icons of Romanticism (Brazil);
- Concretos &/ou Brazilian Inteligentsia;
who is afraid of Sylvia Plath? (& e. e. cummings);
Pour une littérature mineur: Mário Quintana as I see him;
Pau Brasil (Oswald de Andrade);
- Mario de Andrade, tel que je l'imagine (bricolage & fragments);
- Noite Morta (Manuel Bandeira, 1921);
- Favorite Drummond (with translation);
- Two invisible phanopoeias & a silence (by Arnaldo Antunes) + Alice Ruiz;
- Podem ficar com a realidade (Leminski);
- Augusto Meyer e Machado de Assis;
- A Stragegy for Writting;

Wednesday, December 09, 2015

"Podem ficar com a realidade" (Leminski) &/ou je prefere l'ivresse





Christophe Honoré
- Metamorphoses (2014);
- La belle personne (2008);
- Tout contre Léo (2002);
Louis Malle:
- Ascenseur pour l'échafaud (1958);
- Le feu follet (1963);
- Le souffle au coeur (1971)
***Wilson Lambert in André Téchiné's Rendez-vous (1985);

(Ezra Pound's Li Po)
(Ezra Pound's Sappho)
(Ezra Pound)

(Heroin Chic Angelina Joline,
picture taken from the Internet)
(Léa Seydoux,
taken from the Internet)
(Léa Seydoux,
montage by A/Z)
(Francisco Lachowski,
montage by A/Z)

Honoré, Ma Mère et le fantôme (Youtube);
Louis Malle, Lacombe Lucien (1974) (Youtube);
Omnsters (AZ montage, for more see here);

"une nymphe amie d'enfance (dans le bleu une manque)
scrambled legs
kangourou langoureux 
pellicules de pelican"
(Rrose Selavy)

"... dans la mélodie engourdissante du nirvana d'une piqûre, on se glisserait en douce derrière le tableau, et hop..."
Hervé Guibert (conjurant la voix de Muzil) 

"Comme le goût des groseilles sous la langue ou la sensation du fouet dans un bordel..."
Julia Kristeva, Le vieil homme et les loups

More Christophe Honoré:
- Les bien-aimés (2011);
- Après lui (2007);
- Les chansons d'amour (2007);
- Dans Paris (2006);
- Ma mère (2004);
(...)

See also:
- du Coen Brothers (plus Tarantino) à française;
- Série presque à genoux with thread;
- Desubicarse (Lucrécia Martel);
- Most Interesting LGBTQIA+ movies;
- Ce faune & ces nymphes, je les veux perpétuer;

Monday, November 30, 2015

Favorite quotes from Detlev Claussen's Theodor W. Adorno: One Last Genius




Wikipedia: A Tool For the Ruling Elite (Helen Buyniski);

This should work as an antidote for some of the crap written in the Internet about Adorno and the Frankfurt School:
"Adorno made use of Hofmannsthal’s strategy 'that he would rather give a good explanation for a weakness that he had been reproached with than deny it' in defending Marcel Proust against the accusation of snobbery. The fantasy of exalted origins ignited by an aristocratic name rescues the imagined person from the trammels of bourgeois competition" (: 28).
"The fact that Adorno’s mother, Maria Calvelli-Adorno, had enjoyed some success in Vienna as a court singer allowed Adorno to speak of Vienna as his 'second home'" (: 28).
"Personal secrets, the source of pleasure and suffering, are encoded as social riddles. The persistence with which Adorno keeps returning to Proust and Thomas Mann, George and Hofmannsthal, seems closely related to the 'childlike obstinacy' that he praises in Proust" (: 29).
"The Calvelli-Adornos were really outsiders and a bit of a motley crew, something that Teddie may well have found attractive" (: 31).
"It was produced on the piano, which was simply a piece of furniture, and those who set about it without fear of stumbling or playing false notes all belonged to the family" (: 32).
"… as an adult, Adorno used to play duets even with friends who were not professional musicians" (: 33).
"… Agathe, a highly accomplished pianist, whom Adorno sometimes called 'Dädd'…. Agathe was regarded as an impressive figure to be treated with respect. She insisted on the highest musical standards and was known for her apodictic judgments, but she also followed the intellectual fashions of the 1920’s, ranging from Kierkegaard to the cinema" (: 33).
"'I cannot express what losing [Agathe] really means to me; it is not so much the death of a relative as above all that of the person closest to me of all, my most faithful friend, a piece of nature that has always enabled me to regenerate myself. I am utterly at a loss and am only gradually coming to visualize the possibility that, and how, I am to go on living.'… 'This sounds highly excessive, but you can believe me that it does not contain an atom of exaggeration and sentimentality'" [Adorno to Krenek, 29 July 1935] (: 34).
"Only exceptional intellectual outsiders noticed that there might be something unusual about Benjamin. Hugo von Hofmannsthal was one of the first newly successful writers to note the extraordinary qualities of Benjamin’s type of criticism" (: 97).
"… Benjamin came to believe that he had grasped the situation of the intellectual who could no longer live either as a citizen or as a traditional artist. Questions of theology, metaphysics, and even esoteric thought remained unresolved in 1919" (: 98).
"Benjamin’s criticism derived its strength from a changed view of the past, one that did not shy away from theological consequences. Paul Klee’s Angel, which he bought in 1921, stimulated him to ever newer interpretations and self-interpretations. In a material sense, this picture of an angel bound him to two intellectual opposites – to Gerhard Scholem, who for a long time looked after the Angel for the homeless Benjamin, and Theodor W. Adorno, who was sent the picture in New York after it had been cut from its frame following Benjamin’s death" (: 101).
"[Adorno's] own mothers, Maria and Agathe, together with his imaginary origins in the Genoan nobility, suddenly appear remarkably insignificant in comparison with Helene Berg, a great beauty who was able to discuss questions of composition on an equal footing with Alban. The impression of grandeur was further enhanced by the proximity of Berg’s house in Trautmannsdorfgasse to the Schönbrunn Palace…." (?).
"'I hung magnetically upon the book [Minima Moralia] for days, and every day I took it up it proved the most fascinating reading'" [Thomas Mann to Adorno, 9 January 1952, in Correspondence, 1943-1955, p. 73] (: 116).
"Adorno lavishes praise on the opening sequences of Charlie Chaplin’s film The Circus: 'Absolute genius!'" [“Notizen über Eisler”, p. 122] (: 161).
"'Scarcely had the actor departed than Chaplin was already mimicking the scene. So close to horror is the laughter he provoked that only from close up can it acquire its legitimacy and its salutary aspect'" [Adorno, “Zweimal Chaplin”, in Ohne Leitbild: Parva Aesthetica, Ags, vol. 10.1, pp. 365f.] (: 165).
"In a congratulatory telegram to Chaplin on his seventy-fifth birthday, he refers to him as a 'Bengal tiger as vegetarian.' The German reader of 1964 would have found it almost impossible to grasp the significance of such an allusion in Adorno’s works. Adorno believed Chaplin capable of extracting a form of reconciliation from the barbarism of the Culture Industry, symbolized here by the image of the predator. The current belief that Adorno’s elitist preference for high culture implied a contempt for the film as an art form is contradicted not only by the value he placed on Chaplin but also by the esteem in which he held Lang. Film had been a prominent feature in the Adorno household from the 1920’s on. He went regularly to the cinema with his aunt Agathe and was able to discuss films on equal terms with the much older Siegfried Kracauer" (: 172).
"In a rage, Adorno grabbed his hat and coat, but unfortunately they were Lang’s, not his own. 'He then presented a comic sight… The hat was much too large and slipped down over his ears; the coat was far too long and Adorno’s hands and arms disappeared inside them…'" (: 173).
"Adorno does not just distance himself from Marxist ideology but develops the idea that 'as with many other elements of dialectical materialism, the notion of ideology has changed from an instrument of knowledge into its strait-jacket'" [“Cultural Criticism and Society”, Prisms] (: 207).
"Politically, Horkheimer had long since broken with all organizations connected with the labor movement… after the beginning of the Moscow show trials – he wanted nothing more to do with communists in the party" (: 210).
"…it was Mao Tse-tung’s China that Horkheimer regarded as the scene of the bloodiest terror; he speaks again and again of the 20 million dead Chinese sacrificed to the planned process of industrialization" (: 222).
"'I have learned from you that the possibility of wanting change need not be purchased with the renunciation of one’s own happiness…'" [Adorno to Horkheimer, 14 February 1965, also “Offener Brief an Max Horkheimer”] (: 245).
"Only by recognizing sensuous experiences as historically variable would it prove possible to restore the dimension of enlightenment to the study of physiognomy. In 1957 Adorno wrote an enthusiastic review of a psychoanalytically oriented study by Paul Moses, 'The Voice of neurosis,' with the subtitle 'Physiognomy of the Voice,' a title that itself evoked memories of the Enlightenment tradition associated with Georg Christoph Lichtenberg. He conceived of this 'physiognomy' as an 'expressive science'" [“Physiognomik der Stimme” (1957), AGS, vol. 20.2, p. 510] (: 254).
"… 'I have been sacked from my job as a dishwasher because I couldn’t work fast enough'... Now, he [Bloch] went on, he was working as a paper packer. What Adorno made of this was: 'He now has no time for writing. His relation to paper has finally become realistic. He packs it in bundles, eight hour a day, standing in a dark hole'" (: 296).
"The term 'coldness' cannot be applied to Bloch as a human being… One need only open Bloch’s political essays from the thirties, however, to feel the icy wind of abstract political judgments with which the Moscow murders are observed.../ Such passages in Bloch’s writings had alarmed Benjamin and caused him to judge that Bloch was 'un peu dépaysé,' a little disoriented" (: 298).
"Adorno’s notes, unpublished during his lifetime, point clearly to the affection he felt for Eisler, who, despite his exaggerated left-wing radicalism, could count on the fierce support of Schoenberg…" (: 302).
"While Brecht used his work on one new play after another as a kind of drug, Eilser, by his own admission, took increasingly to Scotch" (: 303).
"To this day critics have largely ignored Adorno’s remark that not only had the official musical life in the United states been transformed since his time there as an émigré but also that in the second half of the sixties he had observed 'a very vigorous and spontaneous' interest from below that had generated an authentic 'resistance to the Culture Industry' by such musicians as 'John Cage and his school'" [“Anmerkungen zum deutschen Musikleben,” 17: 168] (: 309).
"Because of his experience of America, he defended the injunction to 'keep smiling' as a practical form of humanity, but at his first place of work, in Princeton, he must have appeared more or less unapproachable" (: 311).
"Even when living under the conditions of actually existing socialism, Lukács could gaze out stoically from a beautiful old house onto a view of Budapest’s Chain Bridge, at the same time that he was accusing Adorno of living comfortably in the Grand Hotel Abyss" (: 315).
"What is needed to form a school is the kind of pupil-teacher relationship that characterized the Second Viennese School, with Schoenberg at its head and Berg as a teacher. Habermas was never a pupil of Adorno’s in that sense: as a young man Habermas did not discuss his own projects with Adorno" (: 318).
"[Horkheimer ] insisted on this in his letter to Adorno; 'the world is full of revolution, and thanks to it terror is on the increase.' Adorno noted in the margin, 'Yes'" [Max Horkheimer to Theodor W. Adorno, 27 September 1958] (: 319).
"Adorno’s theory liberates aesthetic experience from the shackles of political and practical utility… / This experience is negated by a conception of the unity of theory and practice that is idealist in reality, even though it purports to be entirely materialist. As early as 1944 Adorno had observed how in Brecht, Auschwitz had disappeared behind a rationalistically constructed Marxism. In his late writings, Horkheimer had already considered the issue of why Marx’s essay On The Jewish Question had been marked by rationalist elements that tended to insulate him from historical realities" (: 327).
"'Misunderstandings are the medium in which the non-communicable is communicated'" ["A Portrait of Walter Benjamin", Prisms] (: 329).
"[Adorno’s interpretation of anti-Semitism in The Authoritarian Personality] not as the function of an authoritarian national character but as a historically determined manifestation of violence (: 335) that could not be eliminated simply by an enlightened program of information."
"'It would be advisable… to think of progress in the crudest, most basic terms: that no one should go hungry anymore, that there should be no more torture, no more Auschwitz. Only then will the idea of progress be fee from lies. It is not a progress of consciousness'" ["Graeculus II: Notizen zu Philosophie und Gesellschaft, 1943-1969", p. 8] (: 338).
"'For all his sagacity, anyone who writes like [Habermas] writes with blinkers on; he lacks bon sens and intellectual tact'" (: 346).
*****Detlev Claussen, Theodor W. Adorno. One Last Genius. Translated by Rodney Livingstone. Cambridge: Harvard University Press, 2008.

This question comes from another book, and is also quite interesting:
"Can we be certain, for example, that for [Adorno], as for the utopian messianism and materialism of Benjamin and Bloch, the realms of the inanimate (i.e., of minerals, stones, plants, mere objects, and “things”) and also of the dead or, more precisely, the no longer, not yet, or not quite living (nonpresent past and future generations, ghosts, and angels) are ultimately excluded from the prepredicative responsiveness and responsibility that Wittgenstein, Gadamer, Habermas, McDowell, and, in their footsteps, Bernstein reserve for a conception of the re-enchanted, that is to say, second nature conceived of as exclusively human?" Hent de Vries, Minimal Theologies: Critiques of Secular Reason in Adorno & Levinas (Baltimore: John Hopkins University Press, 2005, p. 552-3, note 57).
Another book that should be mentioned is Richard Leppert's edition of Adorno's Essays on Music (translated by Susan H. Gillespie; Univ. of California Press, 2002). There we learn that Adorno was a very open-minded admirer not only of the work of Chaplin, but also of the work of figures such as John Cage, Karlheinz Stockhausen, and Pierre Boulez.

See also:
Pier Paolo Pasolini & Deconstruction;
Sur les premiers chapitres d’Esthétique et théorie du roman;
Umberto Eco about Nietzsche (& deconstruction);

Sunday, November 29, 2015

Brazil's most recent contribution to the disillusionment of humanitarian rhetoric




Bonna Petit!!! (A/Z, 2017);

After being arrested, the senator Delcídio do Amaral now says that “it was for humanitarian reasons” that he plotted to “help” Mr. Cerveró flying to Spain.*** 
Here we have the sixth largest economy of the world sank into a serious economic crisis and the environmental tragedy of Mariana. The senator Delcídio Amaral was the political articulator of the government in the House of Senators. 
By “disillusionment of humanitarian rhetoric,” I don’t mean that Delcídio is lying (although he is). What he says, on the other hand, is not simply false. It is rather true, because the meaning of words such as “humanitarian” as they have been used by this leftist government is now completely eroded. And it won't be available in the near future for any wing whatsoever.  
Regression will only be worse if the right pretend to be more "humanitarian" than the left, and start to do so by rushing to dismantle the social policies that have been so far implemented.

Friday, November 13, 2015

Lublin



Most of the pictures were taken somewhere between the IBB Grand Hotel Lublinianka and Zamek Lubelski. Many were taken inside Muzeum Lubelskie, and inside the Dominican church (for more, see here).

"[for Caillois] the animal's camouflage does not serve its life, because it occurs in the realm of vision, whereas animal hunting takes place in the medium of smell. Mimicry is not adaptive behaviour; instead it is a peculiarly psychotic yielding to the call of space. It is a failure to maintain the boundaries between inside and outside, figure and ground... Caillois compares this to the experience of schizophrenics. 'Space seems for these dispossessed souls to be a devouring force'" (Rosalind Krauss, The Optical Unconscious).

See also:

Warszawa



Most of the pictures were taken somewhere along the street Nowy Świat, in between Muzeum Narodowe and nearby Rynek Starego Miasta. There are many churches in this region, and they are certainly worth visiting. Many pictures were taken inside the Muzeum Narodowe and inside Muzeum Fryderyka Chopina. For more see here.